Cosmopolis will certainly baffle some, bore others. I cannot imagine what Twihards will think. But it is intelligent and stylish cinema, an antidote to the time-wasters than occupy so many theatres during the silly summer season.

Pattinson’s Eric serves as the viewer’s eyes and ears throughout this world. We’re seeing the world exactly as he sees it and not how it actually is since there isn’t a single scene in the film that Pattinson isn’t in. It’s the true starmaking performance that the actor has probably long hoped for and he carries the film wonderfully.

The arguments will be made back and forth that the film still isn’t a “return to form” for the director or that it’s a masterpiece that will be heralded for its prescient nature given the current state of the global economy, but what makes Cosmopolis brilliant in its own way is that none of those arguments matter when the film itself is allowed to be scrutinized on its own merits. It’s a hard and challenging film for casual viewers to ever hope to have in “in” with, but for those willing to follow along and let the film wash over them in the same way a great book can take over the imagination, Cosmopolis is a heck of a ride. It’s an impossible film to sum up with a full critical analysis in less than 1,000 words, but it will lead to some great discussions amongst those who see it.

It’s a richly verbose film, even more so than his majestic, 2011 exploration of extreme emotional repression, A Dangerous Method. It gets to the point where much of what is spoken cannot be fathomed – “talent is more erotic when it’s wasted” – but the film is about the rhythms of dialogue, the verbal posturing, sparring and deceptions employed in the economic sector.

The way in which Cronenberg photographs the talk, too, is subtle, elegant and intense without ever drawing undue attention to itself or feeling overly oppressive. Per Cronenberg himself, this is a film in which “fantastic faces say fantastic words”.

Pattinson totally kills the role. He’s dismissive and elitist, yet also dripping with charisma and downright swagger. He manages to display an old, rumbling rage under surface, and he does all this barely moving a muscle. He is to evil understatement what Nic Cage is to shouty mega-acting. At the end of the film… it’s absolutely devastating.

David Cronenberg’s Cosmopolis is a complex and incredibly nuanced film that adapts its source material handily, representing Don DeLillo’s novel with cinematic specificity and Cronenbergian methodology. Multiple viewings will be required to fully grapple (and perhaps enjoy) the result, but the film’s incredible dialogue and insightful rhetoric will challenge audiences in the best way.

…

While Cosmopolis is satirical, it’s better described as a dark elucidation of modern society. Both the film and the novel are absurd because of the way certain characters speak and act, but what’s depicted isn’t all that farfetched. In fact, there’s nothing overtly science fiction about how Eric Packer lives his life or how his world functions, which makes the result of this story all the more interesting.

It took me a little while to get into sync with the film, but when I did was captivated. Especially when we get to the Paul Giamatti stuff. Good God he’s great in this film. Like Academy Awards good. I can see the clip they’d play at the awards (if they still do that anymore), too. I was onboard by the time he comes around, but if I wasn’t I guarantee his performance in the movie would have pushed me over into “okay, you got me” territory.

Cosmopolis picks up on and runs with all three of the central themes that have emerged over the last 11 days of the Festival: our response to chaos; the collapse of the era of excess; and the terror, and comedy, of death. It could almost be a bizarro prequel to Leos Carax’s Holy Motors, another film in which a limo ride becomes an odyssey. At its heart is a sensational central performance from Robert Pattinson – yes, that Robert Pattinson – as Packer. Pattinson plays him like a human caldera; stony on the surface, with volcanic chambers of nervous energy and self-loathing churning deep below.

Taking on another “unfilmable” novel, Cronenberg again accomplishes something remarkable: hewing closely to the source material in letter and spirit, yet still stamping it as a distinctly Cronenbergian endeavor, albeit one lacking much in the way of his trademark body horror (with one notable, bloody exception). Diamond-hard and dazzlingly brilliant, Cosmopolis alternates between mannered repression and cold frenzy, one of the ways in which it most closely resembles Cronenberg’s prior A Dangerous Method.

The more abstract and overtly stylized Cosmopolis is, the more it thrills, as in a lengthy discussion between Packer and his “chief of theory,” Samantha Morton, in which they never acknowledge that the limo is being assaulted by protesters to the point where it’s threatening to tip over.

Cosmopolis: Touted as “The first film about the new millennium,” David Cronenberg’s adaptation of Don DeLillo’s satirical novel of the same name is an artful critique of modern day power and corruption. Protest scenes may be likened to the Occupy Wall Street movement while the treat of economic collapse clearly parallel’s reality. The plot centers on Eric Packer (Robert Pattinson), a 28-year-old billionaire, who insists on taking his extravagant limo across Manhattan to have his hair cut. As the high-tech vehicle slowly cruises through the city, a gaggle of characters (clearly archetypes) enter his resilient cocoon.

Though Cronenberg is known for boundary-pushing films, such as “The Fly” and “Naked Lunch” and “Crash”, his catalog also includes the thoughtful adaptation of “M. Butterfly” as well as last year’s “A Dangerous Method”. “Cosmopolis” is seldom violent. The lyrical dialogue gives the film a theatrical feel and the words cut deeper than representations of physical brutality.

Pattinson exudes confidence and a suave demeanor while exhibiting desolation and paranoia. His shockingly rich performance was one of the biggest surprises at the festival. His visceral delivery of DeLillo’s astute language is jarring and even sexy.

Post-Cannes Appeal: Both Cronenberg and Pattinson have a legion of supporters that have been anticipating “Cosmopolis” for a year. Pattinson’s work in the film has stunned critics who doubted his capabilities as an actor. The film is bound for cult status and the love it or hate in reception at Cannes assure that it’s difficult to ignore.

Pattinson has made a very conscious choice to direct his acting career away from the Twilight franchise and squarely in that of renowned directors and more complicated material. He pulls this off to great effect as the film leaves its leading man nowhere to hide in regards to his acting ability and screen presence. With unabashed sexual scenes, welding a handgun and one character confirming his actual real eye colour, this is Robert Pattinson’s acting manifesto and it builds on the promise he has shown with characters not given the same range as found in Eric Packer.

Cosmopolis is not going to be for everyone. It is not a relaxing Friday night movie and does have a tendency to lag by the beginning of the third act, though does redeem itself in the final scenes. When the Cronenbergian violence does come it’s a relief, if not an antidote, to all the intricate multi-layered conversations that have preceded it. Love it or hate it, Cosmopolis is going to create a reaction and likely a source of many university film studies papers.

COSMOPOLIS is evidence of a director pouring his intellect and soul into a film that is even colder, more calculated, impenetrable and alien than any other genre film he has ever attempted before. It makes RABID look like an episode of YO GABBA GABBA. It makes the psychological miasma of SPIDER seem like THE BIG BANG THEORY, the sex/car weirdness of CRASH play like SMOKEY AND THE BANDIT. It’s a difficult film to like, and demands its audience immerse itself in its insect-like intellect and quietly unfolding, aloof narrative. It most certainly is a difficult film, but for serious fans and scholars of the director’s unique and unwavering world view, it is both essential and immensely rewarding.

The film is as polished and great-looking as can be expected. Cronenberg responds well to his main actor, fitting him out in a suit that becomes a little wrecked by the end, and filming him in close-ups with harsh lighting. There are plenty of great shots — Pattinson in close-up, lit by the fluorescent white tracking light of a gun, for instance. The cinematography excellently captures the sense of modern alienation, showing the city in all of its strangeness and dehumanizing state. All of the sets are beautifully designed, from the interior of Pattinson’s limo to the grim cityscape in the last few scenes.

“I’m hungry for something thick and juicy,” growls Robert Pattinson at the start of Cosmopolis, and one can imagine Pattinson issuing the same order to his agents after years spent sinking his vampire teeth into wan Twilight flicks. His team earned their keep by landing Pattinson this David Cronenberg–directed movie and a berth at Cannes (where Kristen Stewart’s On the Road premiered just a few days before). And yes, he’s good in it.

Tink,
Read over on the other much loved site that you had a chance to attend the premiere in Toronto!
I am so very pleased that you were granted access and an audience with the whole cast. You certainly deserve it! I thought of you one day as I read a review of a different movie. The director for that film said that bloggers have changed the way that film making is perceived by the average fan or movie-goer. You have certainly done that for many of us. Kudos to you for using your talents, ambition and time in such a way. In the end, I know that beyond your grand love for certain cast members and devotion to their careers, you are a bit of a pioneer in the movie blog world. I hope that this is more than just a hobby for you and that good things, that pay well and give you access to the film industry, will come your way. I think I remember hearing that you were a student. If that is still the case, then continue your studies and take advantage of the connections and contacts that you are making along the way. Thank you very, very much for your wonderful updates and for the devotion to a great film and its cast and directors. If I could, I would grant you wings and a magic dust so that you could stir up more magic along the way! Thanks for sharing your gifts, Tink!
J.D.
xxxx
P.S. Hope that you get this note!

TInk,
I watched the video of you asking Mr. Cronenberg a question at the Q & A. Great question! It was difficult to hear his answer but I think that I got most of it. I hope that he remembers your connection to this blog and that he comes here one day. I wonder if he hasn’t already. Just wondered if you have recovered from the adrenalin rush from your great day!
Keep up the great work!
J.D.

oh WOW! thank you SO much for your kind words. that means a lot. i completely enjoy and respect this form of blogging. it’s awesome to represent the films you attach yourself to in some way and you hope that it’s received well. im not a student im actually a college professor. i moonlight as a blogger. 😉 this blog has been very special and it was an honor for me and chauffeur deb to see the film yesterday and have the Q&A opportunity. we’re getting our post about the premiere day together but we’ll share our experience.

Tink,
I beg your pardon for misunderstanding that you were a college student! I while back, I remember reading a comment or note that mentioned a campus and assumed that you were a student. Congratulations on being a professor! Your self-proclaimed hobby is very well organized, informative and entertaining! I first found your work when I searched for info on WFE. Your webpage was immediately bookmarked and visited often. When I realized that you were involved on other pages I began to visit them, as well. Your professionalism is evident…I should have known! Thanks for clarifying my misinformation. I totally understand that these blogs are a group effort and hope that your cohorts all know how much we appreciate their contributions! Thanks for the amazing updates from Toronto! I look forward to more from your experience!
Merci!
J.D.
(I just wanted to add that your picture on the side bar on robsessedpattinson.com, alongside of your information makes you look like you are a young co-ed on campus! You must be a cool, hip professor!)

thanks again for the compliments and i do pride myself on being “hip” with my students LOL we have a good time but i purposely come off as youthful with them because of the field of study. it’s communication and public speaking. most people are terrified of speaking in public so i find if i come off as a very approachable instructor, they relax more and do better with their speeches. they can focus on building their credibility AND confidence and not too consumed by anxiety.

Dear Tink,
I hope one of those guys on the Toronto press conference stage will read what you’ve said here and realize that this site is not a junior high school class project. It was your and Deb’s classily illustrated excerpts from Cosmopolis that led me to read the book, which in turn got me time traveled back into grad school close reading modus (it’s so meaty, crisp and rich!). I’m going to repeat a question to you that I asked over at Robsessed: what would you think of a Cronenbergian Hamlet with Rob in the title role, Viggo as Claudius, and Kristen as Ophelia? Yesterday I saw Charlie Rose interviewing the directors of Shakespeare in the Park and I thought about the delivery of DeLillo’s lines in Cosmopolis and the connection just zapped. I’m throwing this idea out into the ether and hoping it might end up getting poured into some influential ear.

i havent been able to catch up in the comments in Robsessed. it’s huge mountain to climb when im still trying to catch up on just the posts.

im just crazy about this movie and the blog helped contribute to that. it’s like we’ve all been enrolled in Cosmopolis University since Jan. 2011. im not sure if DC would want to tackle Shakespeare but he certainly did a modern take on stimulating words set on a “stage”. we at least know Rob and David want to work together again and it looks like it’ll be with Viggo (Map to the Stars). we also know Rob and Kristen want to work together again (both have said this numerous times). we’ll have to see what happens with all these dynamic people.

Cosmopolis is just fantastic and i know i welcome the encore union of Rob and David 🙂

The Chauffeurs

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